Does Paris Have Too Many Tourists? A European Crisis Comes to Montmartre 

Tourists walk near the Louvre in Paris, Sunday, Aug. 17, 2025. (AP)
Tourists walk near the Louvre in Paris, Sunday, Aug. 17, 2025. (AP)
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Does Paris Have Too Many Tourists? A European Crisis Comes to Montmartre 

Tourists walk near the Louvre in Paris, Sunday, Aug. 17, 2025. (AP)
Tourists walk near the Louvre in Paris, Sunday, Aug. 17, 2025. (AP)

When Olivier Baroin moved into an apartment in Montmartre about 15 years ago, it felt like he was living in a village in the heart of Paris. Not anymore.

Stores for residents are disappearing, along with the friendly atmosphere, he says. In their place are hordes of people shooting selfies, shops selling tourist trinkets and cafés whose seating spills into the narrow cobbled streets as overtourism takes its toll.

Baroin has had enough. He put his apartment up for sale after local streets were designated pedestrian-only while accommodating the growing number of visitors.

“I told myself that I had no other choice but to leave since, as I have a disability, it’s even more complicated when you can no longer take your car, when you have to call a taxi from morning to night," he told The Associated Press.

From Venice to Barcelona to Amsterdam, European cities are struggling to absorb surging numbers of tourists.

Some residents in one of Paris' most popular neighborhoods for tourists are now pushing back. A black banner strung between two balconies in Montmartre reads, in English: “Behind the postcard: locals mistreated by the Mayor.” Another, in French, says: “Montmartre residents resisting.”

Atop the hill where the Basilica of Sacré-Cœur crowns the city's skyline, residents lament what they call the “Disneyfication” of the once-bohemian slice of Paris. The basilica says it now attracts up to 11 million people a year — even more than the Eiffel Tower — while daily life in the neighborhood has been overtaken by tuk-tuks, tour groups, photo queues and short-term rentals.

“Now, there are no more shops at all, there are no more food shops, so everything must be delivered,” said 56-year-old Baroin, a member of a residents' protest group called Vivre a Montmartre, or Living in Montmartre.

The unrest echoes tensions across town at the Louvre Museum, where staff in June staged a brief wildcat strike over chronic overcrowding, understaffing and deteriorating conditions. The Louvre logged 8.7 million visitors in 2024, more than double what its infrastructure was designed to handle.

Paris, a city of just over 2 million residents if you count its sprawling suburbs, welcomed 48.7 million tourists in 2024, a 2% increase from the previous year.

Sacré-Cœur, the most visited monument in France in 2024, and the surrounding Montmartre neighborhood have turned into what some locals call an open-air theme park.

Local staples like butchers, bakeries and grocers are vanishing, replaced by ice-cream stalls, bubble-tea vendors and souvenir T-shirt stands.

Paris authorities did not immediately respond to requests for comment.

Visitors seemed largely to be enjoying the packed streets on a sunny Tuesday this week.

“For the most part, all of Paris has been pretty busy, but full of life, for sure," said American tourist Adam Davidson. “Coming from Washington, DC, which is a lively city as well, I would say this is definitely full of life to a different degree for sure.”

In Barcelona, thousands have taken to the streets this year, some wielding water pistols, demanding limits on cruise ships and short-term tourist rentals. Venice now charges an entry fee for day-trippers and caps visitor numbers. And in Athens, authorities are imposing a daily limit on visitors to the Acropolis, to protect the ancient monument from record-breaking tourist crowds.

Urban planners warn that historic neighborhoods risk becoming what some critics call “zombie cities” — picturesque but lifeless, their residents displaced by short-term visitors.

Paris is trying to mitigate the problems by cracking down on short term rentals and unlicensed properties.

But tourism pressures are growing. By 2050, the world’s population is projected to reach nearly 10 billion, according to United Nations estimates. With the global middle class expanding, low-cost flights booming and digital platforms guiding travelers to the same viral landmarks, many more visitors are expected in iconic cities like Paris.

The question now, residents say, is whether any space is left for those who call it home.



David Hockney, the British Artist Who Went in Search of Californian Color, Dies at 88

British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
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David Hockney, the British Artist Who Went in Search of Californian Color, Dies at 88

British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)

As a child growing up in gloomy northern England, David Hockney noticed the sharply ‌defined shadows in the Hollywood films of comedy duo Laurel and Hardy.

"Strong shadows meant a lot of sun," the painter recalled to BBC television in 2009. "So I thought, well, wherever that is, it's always sunny."

Two decades later, Hockney moved to Los Angeles to immerse himself in that dazzling light.

The artist, whose brightly colored renditions of California would go on to make him one of the most celebrated artists of the 20th and 21st centuries, has died, Sky News reported on Friday. He was 88.

No cause of death was given.

'HERE I FELT FREE'

Initially, almost as much as his paintings, Hockney was known for his own image — thick-rimmed spectacles, peroxide hair, shiny gold jacket — which became a symbol of Britain's Swinging Sixties.

As an art student in the northern English city of Bradford — where he was born to an accountancy clerk father and a devout Methodist mother — Hockney rebelled against convention.

To continue his studies, in 1959 he moved to London where he had a meteoric rise in the British pop art movement and rubbed shoulders with stars from dancer ‌Rudolf Nureyev to ‌Mick Jagger.

But Hockney yearned for the excitement he saw in the work of American artists. Using money ‌from ⁠the sale of ⁠his art, he visited New York for the first time in 1961 — where he became a friend of Andy Warhol — and moved to California three years later.

"I thought people who produced such work must live in color, so I went in search of it," he is quoted as saying in a biography written by art critic and friend Peter Adam.

"I had spent the first 20 years of my life in the gothic gloom of the North. Here I felt free."

His pictures of swimming pools became icons of a sun-drenched lifestyle that he documented with luminous acrylic paint before dividing his time between Los Angeles, London and Paris in the late 1960s and 1970s.

He remained unpretentious despite his success.

"I am actually still a ⁠student," he told Adam. "I just happen to have quite a lot of credit cards in my pocket."

In ‌1985, when he was invited to the White House to dine with President Ronald Reagan, ‌Prince Charles and Princess Diana, he was held up for half an hour by security officers because he was the only guest to arrive on foot, ‌his biographer wrote.

'YOU DON'T RETIRE DOING THIS'

Hockney's images of love and material wealth led to claims by some art critics that ‌his work was trivial. But he won greater renown than any other British artist of the 20th century.

One of his most famous paintings, "Portrait of an Artist (Pool with Two Figures)" sold for $90.3 million in 2018, the most expensive work by a living artist sold at auction at the time.

As he grew older and his life turned more domestic, dogs replaced men in Hockney's work, at a time when many ‌of his friends were dying of AIDS.

He said he cried for two days when Stanley, one of his beloved dachshunds, died in 2001, having been immortalized in scores of paintings and sketches.

In the late ⁠1990s, Hockney began returning more frequently to ⁠visit his mother in the northern English county of Yorkshire, where he had grown up, and a terminally ill friend encouraged him to paint the local landscapes.

Feeling increasingly lonely, he moved from California to the seaside town of Bridlington on England's North Sea coast. For a decade he painted clumps of bare trees in winter, fields full of ripe crops and tracks stretching towards the gentle rolling hills of the Yorkshire Wolds region.

It was the most productive period of his entire career as he rushed to capture scenes that, he said, changed more dramatically with the seasons than did those of California.

"You don't retire doing this," he told the BBC in his broad Yorkshire accent when asked about his unflagging energy. "You just do it until you fall over."

The former enfant terrible of British art, a cigarette almost always in his hand, never stopped trying new techniques. He used faxes to share his work and then iPads to produce it. His Yorkshire paintings led to a stained-glass window for Westminster Abbey, in central London.

In 2018, Hockney bought a farmhouse in Normandy, in northern France, and turned his eye to the fields and flowers of his garden there. The 90-meter-long "A Year in Normandie" frieze was inspired by the nearly 1,000-year-old Bayeux Tapestry.

Hockney's work ethic — instilled in him from getting up daily at 6 o'clock to work in hospitals for two years, when he refused to do his military service in the army — barely relented in his later years.

"I tend to think that you should work every day," he said. "And I do."


Red Sea Museum Extends 'Sunken Treasures' Exhibition Until August 15

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks  - SPA
The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks - SPA
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Red Sea Museum Extends 'Sunken Treasures' Exhibition Until August 15

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks  - SPA
The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks - SPA

The Red Sea Museum is strengthening its cultural and educational offerings by extending its temporary exhibition, “Sunken Treasures: The Maritime Heritage of the Red Sea,” until August 15 at the Bab Al-Bunt building in Historic Jeddah.

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks from the remnants of maritime journeys into valuable historical archives and, ultimately, thriving natural habitats rich in coral reefs and marine life, SPA reported.

It reintroduces the Red Sea as a vital cultural and civilizational corridor that has long connected the Arabian Peninsula with Asia, Africa, and the Mediterranean, facilitating trade, cultural exchange, and human interaction across centuries.

The “Sunken Treasures” exhibition reflects the Red Sea Museum’s role as a knowledge platform dedicated to promoting public understanding and supporting scientific research in collaboration with the Heritage Commission and the Jeddah Historic District Program.


Saudi Film Commission Adds Kuwaiti Classic ‘Bas Ya Bahar’ to National Film Archive to Boost Cultural Cooperation

The Saudi Film Commission logo
The Saudi Film Commission logo
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Saudi Film Commission Adds Kuwaiti Classic ‘Bas Ya Bahar’ to National Film Archive to Boost Cultural Cooperation

The Saudi Film Commission logo
The Saudi Film Commission logo

The Film Commission of the Saudi Ministry of Culture announced the inclusion of the film "Bas Ya Bahar" (The Cruel Sea), one of the most prominent Gulf cinematic works, in the National Film Archive collection.

This step comes as part of the commission's efforts to preserve cinematic heritage, make these productions accessible to researchers, creators, and future generations, and highlight Arab cinematic works of cultural and historical significance, SPA reported.

Directed by Kuwaiti filmmaker Khalid Al-Siddiq in 1972, "Bas Ya Bahar" is the first full-length Kuwaiti feature film and one of the most important works in the history of Gulf cinema.

The film sheds light on the lives and hardships of pearl divers in their search for pearls before the discovery of oil, portraying the challenges faced by Gulf communities during that era.